Search results: Search results

71 results

Products

    COMPLETE STEREO RECORDINGS ON WARNER CLASSICS
    WARNER CLASSICS

    COMPLETE STEREO RECORDINGS ON WARNER CLASSICS

    CD · 79 discs

    $240.49
    Artist
    BOULT, SIR ADRIAN
    Released
    Mar 20, 2026
    Dedicated to the STEREO recordings of Sir Adrian Boult, this edition forms an essential counterpart to the previously issued Mono Recordings 1920-1957. Few conductors embraced the transition from mono to stereo with such sensitivity and imagination: Boult drew on a new generation of producers and engineers to achieve a remarkable balance of clarity, depth, and power. Covering the years 1956 to 1978, this collection captures his "Indian summer" in the studio and includes his landmark Schumann and Brahms cycles, alongside authoritative interpretations of fellow composers Vaughan Williams, Elgar, Britten, and Holst. Celebrated for their vitality and architectural grandeur, these recordings confirm Boult's central place in the history of orchestral performance on record.
    View full page
  • COMPLETE STEREO RECORDINGS ON WARNER CLASSICS

    COMPLETE STEREO RECORDINGS ON WARNER CLASSICS

    WARNER CLASSICS Mar 2026
    79 discs
    CD
    $240.49
  • Wedding Classics
    Sale

    Wedding Classics

    Chandos Feb 2003
    2 discs
    CD
    $21.99 $10.99Save 50%
  • CROWN & GLORY / VARIOUS
    DECCA

    CROWN & GLORY / VARIOUS

    CD · 2 discs

    $21.56
    Artist
    CROWN & GLORY / VARIOUS
    Released
    Jun 23, 2023
    Two CD collection in celebration of the much-anticipated coronation of King Charles III and the Queen Consort, Camilla. 'Crown and Glory' houses over two and a half hours of British orchestral, instrumental, and choral music from across four centuries. Music enjoyed at coronations, jubilees and state occasions sits alongside evergreens of the Great British classical songbook heard throughout the year at annual national events such as the Last Night of the Proms. Melodies reflecting the close tie between the monarchy and the armed services also feature, as do select songs and tunes beloved by each country of the Union.
    View full page
  • CROWN & GLORY / VARIOUS

    CROWN & GLORY / VARIOUS

    DECCA Jun 2023
    2 discs
    CD
    $21.56
    Naxos

    Parry: Choral Masterpieces / Stokes, Manchester Cathedral Choir

    CD · 1 disc

    $19.99
    Composer
    PARRY, CHARLES HUBERT HASTINGS
    Artist
    Stokes
    Released
    Jul 28, 2009
    An essential addition to many collections.

    Jerusalem and I was glad have been recorded zillions of times, as you might expect given their exalted status among English cathedral choral works. Even the six motets that make up the Songs of Farewell have been well-treated on disc, and at least one other recording, from St. George's Chapel Windsor Castle (Hyperion), nearly duplicates this program. Among all of those recordings you inevitably could find performances of individual works that are to some degree better than the ones presented here, but Christopher Stokes and his 25-voice Manchester Cathedral Choir (15 boy-and-girl trebles joined with 10 altos, tenors, and basses), along with organist Jeffrey Makinson and the Naxos production team, give lovers of this music the spacious cathedral ambience and the spirited performances they expect, technically sound and fervently expressed.

    It's nearly impossible to imagine ever growing tired of Parry's magnificent setting of William Blake's Jerusalem, nor of such sensitive and deeply moving realizations of the poetry in the Songs of Farewell, particularly Thomas Campion's Never weather-beaten sail and Psalm 39 (Lord, let me know mine end). Here they are treated as respectfully and rendered as powerfully as any choir has done, and rarely do you hear such lovely treble singing as in the selection from Parry's oratorio Judith (Long since in Egypt's plenteous land). Speaking of trebles, the recording--and apparently the cathedral space itself--favors them at the expense of the lower voices, and the organ, wonderful as it is to hear, also tends to be a bit too assertive at times. But these are not criticisms serious enough to undermine the very fine, eminently repeatable performances. In fact, for musical value and price, you can't really do better than this in this repertoire. Definitely recommended.

    --David Vernier, ClassicsToday.com

    -------------

    This is a perfect introduction to the choral music of Charles Hubert Hastings Parry. The repertoire covers his three most popular choral works alongside three great works that are typically known to Parry enthusiasts and those who inhabit the organ loft or choir stalls: the two groups are not mutually exclusive. I did a little survey: I asked five people (not British Music fans) to name a piece of music by Parry. Only one was able to suggest Jerusalem, but added that it might have been by Elgar ... The other four, unsurprisingly, had heard of this great hymn, but the composer remained a blank spot.

    The CD gets off to a great start with the anthem I was glad. It was originally written for the Coronation of Edward VII and was also performed at the Service for George VI and the present Queen. Manchester Cathedral Choir cope well with this powerful music and the organ is heard to impressive effect. As is traditional, the acclamations of 'Vivat Rex' or 'Regina' are omitted in this recording. One wonders if this anthem will be used at subsequent Coronations (long, long may that be in the future) or whether something more egalitarian and balanced towards 'world music' will be the order of the day?

    The Great Service in D major is a fine piece of choral music that can be used in both a liturgical or concert setting. At nearly nine minutes the Magnificat may be a little long for St Swithun's Parish Church Evensong, but in Cathedrals this would be an acceptable length. Both parts of the Canticles reveal a confident composer who is totally at home in the world of Anglican Church music. The service was written in 1881 for Trinity College Cambridge, however it was not published until 1984. This is a great setting that is a million miles away from the popular view that Victorian church music was over-sentimental and stodgy.

    The Songs of Farewell are quite simply stunning. This is a major work that explores feelings about the transience of life and involves much reflection by the composer back across the years of his musical achievement. Parry stated that, at seventy years of age, he had reached 'the last milestone.' It would be a project worthy of a dissertation or a thesis to explore the composer's religious sensibilities at this time in his life. He was not a conventionally Christian believer and would have seen the texts in a personal context rather than liturgical. Yet each of these motets is deeply moving and invariably inspiring.

    I guess that many habitués of cathedral and parish churches will know the opening My Soul, there is a country - a fine setting of Henry Vaughan's fundamentally optimistic words. Yet the remaining five motets are less often performed and less well known. The composer provides considerable interest in these subsequent motets by use of varying number of parts and a fine balance of a fundamentally harmonic language over against more complex but never 'academic' contrapuntal workings.

    Perhaps the mood of the entire collection is best summed up by the last motet Lord, let me know mine end. The last words of this psalm ask God to 'O spare me a little, that I may recover my strength before I go hence and be no more seen'. Hardly the thoughts of a confident evangelical who 'knew' that he was going to join the saints in glory but more those of a deep-seated agnostic.

    For me the most beautiful work on this CD is Hear my words, ye people. It is a compendium of texts taken from the Old Testament books of Job, Isaiah and the Psalms. The work was originally composed for the 1894 Festival of the Salisbury Diocesan Choral Association. Unbelievably, it was conceived for 2000 singers with a semi-chorus of some 400! There was an organ accompaniment and brass band present the first performance. The choral music part was kept relatively simple, as there was little time for rehearsal. The more complex music was given to the soprano and baritone soloists. In this recording the baritone part is sung by Mark Rowlinson: the other solo parts are taken by groups of choristers. The work concludes with the well-known hymn O Praise ye the Lord, which was a paraphrase of Psalm 150 by Sir Henry Baker. Something tells me that this 'pared-down' version is actually more effective and satisfying than the original. It is a truly gorgeous work that ought to have a secure place in the repertoire.

    The penultimate piece is from the oratorio Judith. Many folk will know the hymn-tune Repton, which accompanies the words Dear Lord and Father of Mankind, without realising the source of the text and the music. Judith was a highly successful oratorio, which was first performed in 1888. The words are from a poem entitled The Brewing of Soma by the American Quaker poet John Greenleaf Whittier. It is given here with great variety of dynamics and constant attention to the meaning of the words.

    Jerusalem is the last piece on this CD. Naturally, it is in Parry's incarnation - with organ accompaniment rather than the gorgeous, but manifestly overblown Elgarian version. No matter how many times I hear this work I cannot help feeling that it is one of the finest hymns ever composed on Earth or in Heaven. For the record it was written during the Great War at the suggestion of Robert Bridges and Walford Davies for a 'Fight for Right' meeting at the Queen's Hall in London.

    The quality of the recording is superb, the programmes notes by Keith Anderson are suitably informative and the texts of all the works are provided. The cover picture is entitled 'Beach Sunset' and presumably alludes to the 'Country beyond the Stars'. Yet it has a definite feel of Morecambe Bay about it.  
    The obvious comparison for this CD is the Hyperion recording of the Choir of St George's Chapel of Windsor conducted by Christopher Robinson. This was - and still is - an essential disc for all Parry enthusiasts and received excellent reviews. However, I have always had a soft spot for Manchester Cathedral: my father's family were from Lancashire and looked towards this great City for work, worship and pleasure. I first visited cathedral in the early seventies, and have enjoyed musical events and services there on an occasional basis over the years. This present recording is a fine monument to a great musical and ecclesiastical tradition. It will be an essential addition to many collections.

    John France, MusicWeb International
    View full page
  • Parry: Complete Symphonies / Bamert, London Philharmonic
    Chandos

    Parry: Complete Symphonies / Bamert, London Philharmonic

    CD · 3 discs

    $65.99
    Composer
    PARRY, HUBERT
    Artist
    Bamert, London Po
    Released
    Sep 01, 1992

    Recorded in: St Jude on the Hill, Hampstead, London 20-22 May 1990, 5-6 January 1991, 9-10 January 1991 abd 6 January 1992 Producer(s) Brian Couzens Tim Oldham Sound Engineer(s) Ralph Couzens Richard Lee Ben Connellan (Assisant) Peter Newble (Assistant) Peter Sheldon (Assistant) Richard Smoker (Assistant)

    View full page
  • Finzi, Parry, Bridge - An English Suite / Boughton
    Nimbus

    Finzi, Parry, Bridge - An English Suite / Boughton

    CD · 1 disc

    $20.99
    Composer
    FINZI PARRY BRIDGE
    Artist
    Jones, Boughton
    Released
    Oct 01, 1996
    "...For Bridge enthusiasts there is no competition to this recording, which is therefore valuable in its own right."

    The three composers represented on this compilation have little in common with each other apart from their nationality and the fact that they were largely neglected during the latter part of their lives and after their deaths. Of the three, Parry always kept a foothold on the repertory because of his choral music - although much of this substantial body of work remains unrecorded to this day - but the English Suite was a posthumous work edited after the composer’s death for performance by his pupil Emily Daymond and not performed until four years after his death, in a Prom outing after which it promptly sank without trace. Some of the ideas in the music date back to Parry’s heyday in 1894 but Daymond did her mentor no favours when she suggested that two of the seven movements of the suite could be omitted if the Suite was thought to be too long, and here the Caprice movement is indeed not given – as it was in Boult’s earlier 1971 recording for Lyrita. The work is hardly over-extended at under twenty minutes, and there would have been plenty of room for the additional movement. The later recordings in the catalogue, conducted by Richard Hickox and Adrian Leaper, also include the work complete and under the circumstances there seems little to recommend this cut version under Boughton unless the other works on the disc appeal.

    Like Parry’s Suite, Finzi’s Eclogue was not published or performed until after the composer’s death, and the title was supplied by his editors. It was originally written in the 1920s as the slow movement of a piano concerto, but was revised some twenty years later to the form we now know. The first recording was made in 1977 under the indefatigable Vernon Handley and Peter Katin, but since then there have been a number of others. Martin Jones gives a very cool reading which emphasises the almost neo-classical style of the writing; one can imagine the work being played with more heated romantic fervour, but it nevertheless reveals all its crystalline beauty in this reading and the playing of the strings is beautifully refined. This is probably the best track on the disc; but the greater part of the collection really rests on the shoulders of Frank Bridge.

    After his death, Bridge was even more neglected than Parry or Finzi; indeed, for many years he was only remembered for the fact that he had supplied the theme for Britten’s Variations, and there were more recordings of that piece in the catalogues than of any of Bridge’s own orchestral music. Britten himself recorded Sir Roger de Coverley with the English Chamber Orchestra in 1969 in the Snape Maltings, and the larger body of strings he employed made a more positive impression than Boughton manages here. It was not until Sir Charles Groves devoted a whole EMI LP to the orchestral music of Bridge in 1976 that the revival of the composer’s fortunes may be said to have been safely launched. Groves could sometimes be a rather stolid and sober conductor, but at his best he was capable of producing some superb performances – his recording of Delius’s Koanga remains unchallenged in the catalogue to this day, and his Bridge compilation was another of the highlights of his recorded repertoire. He included Cherry ripe and the Lament in his compilation, and two years later Boult gave us première recordings of Rosemary and Sally in our Alley; but this Nimbus disc was - so far as I can tell - the first to include recordings of the Canzonetta and the Irish melody. Indeed this remains the only available recording of the latter work in its orchestral form, since it was not even included in Hickox’s otherwise comprehensive survey of Bridge’s orchestral music for Chandos; the other recordings in the current catalogue are of the original string quartet version.

    In terms of performances Boughton’s readings of Bridge are fine, but these are not by and large Bridge’s greatest works; indeed many of them are transcriptions for string orchestra of pieces that Bridge originally wrote for smaller forces, and many of them fall close to the category of ‘light music’ – if any music by Bridge could be so described. Boughton is just a little slower than his competitors Boult or Groves - to the advantage of the heartfelt Lament - but the differences in interpretation are minimal. The most substantial work here, There is a willow grows aslant a brook, is however something different again. This meditation on the death of Ophelia (in Hamlet) is one of Bridge’s most impassioned later works, and in terms of length and content it can hardly be categorised as a miniature. This is the only work on this disc which includes wind instruments, and it is also clearly the most ‘modern’ composition here; Boughton gives the music plenty of atmosphere. But there are many other recordings of this piece, and some of these - not least Hickox - give the music more substance.

    The real attraction for Bridge completists - who will in any event presumably already possess all the Hickox recordings - is the orchestral version of the Irish Melody, which contains yet another arrangement of the (London)derry Air to set beside those of Grainger and Harty. It is quite a bit less conventional than the setting by Harty, but decidedly less so than some of the sometimes bizarrely chromatic versions in which Grainger indulged himself. Then again, this is not really a conventionally Irish tune; it fits no known Irish metre, and its history might lead to some suspicion as to whether it is really a traditional Irish melody at all. It was first published in 1855 (without words) and was supplied to George Petrie by Jane Ross who had arranged it herself for piano and merely stated that it was “very old”. However later researchers failed to uncover any trace of its origins, or any Gaelic words; the first poet to supply lyrics was Percival Graves for an 1882 setting by Stanford. Apparently Jane Ross, who was a conscientious collector of folk-songs, may have heard the song in Donegal - where her brother was a fisherman - rather than Derry itself. There remains a suspicion that she may actually have written the melody herself – perhaps more likely than an alternative explanation which attributes the tune to the fairies. Bridge’s arrangement is the central section of a piece that is quite substantial in length and depth; he adds a double-bass part to the original quartet version. One could imagine the work might be more effective with more players; the cellos at 1.32 and 2.16 sound rather thinner than ideal. For Bridge enthusiasts there is no competition to this recording, which is therefore valuable in its own right.

    The recorded sound throughout is natural, and nicely resonant without being overblown.

    - Paul Corfield Godfrey, MusicWeb International
    View full page
  • Psalms For The Soul - Howells, Stanford, Parry, Sumsion, Etc
    Naxos

    Psalms For The Soul - Howells, Stanford, Parry, Sumsion, Etc

    CD · 1 disc

    $19.99
    Composer
    VARIOUS
    Artist
    CHOIR OF ST. JOHNS
    Released
    Sep 01, 2000

    Choral enthusiasts, arise! Here is a new recording that you can really get excited about. A dozen or so miles north of the twin cities of Kitchener-Waterloo, Ontario, lies the village of Elora. And there, at St. John's Anglican Church, is a choir that stands among the best in North America. Its director, Noel Edison, also is the founder of the acclaimed Elora Festival and its Elora Festival Singers, another world-class professional ensemble. The singing on this disc, which includes Psalm settings for the Anglican service, a couple of anthems with Psalm texts, and service music for Good Friday known as The Reproaches, gives further confirmation of Canada's second-to-none stature in the world of choral singing. During the six years that I lived in Kitchener (in the pre-Elora Festival days) I discovered and participated in a choral music tradition that's not widely known or appreciated outside of Canada. Mostly centered in the Anglican churches, it breeds generations of singers who not only are rooted in English church music but also, because of the country's relatively small population and brief musical history, are open to all the world's music, and especially to contemporary works. Luckily for us, Naxos has found this outstanding St. John's choir and I hope we can look forward to many more recordings.


    Of course, this program is of a fairly specialized nature. Anglican chant--a stylized singing of liturgical texts, in this case the psalms, to an original, fully harmonized tune--is not for everyone. But over the centuries many of the world's finest composers have lent this form their interest and inspiration--and many lesser-known but highly competent organists and choir directors have contributed their own often strikingly imaginative efforts. If sung properly, as they are here, and if the musical settings are well chosen--also the case on this recording--then listeners are in for a treat. There are too many highlights to single them all out, from Charles Hylton Stewart's Psalms 23 and 103, to David Willcocks' Psalm 131, Hubert Parry's Psalm 84, Ivor Atkins' Psalm 149, Edison's own Psalm 121, and the resounding closer, Stanford's Psalm 150. More famously represented are Edward Bairstow's luscious Lamentations, and the anthems by Herbert Sumsion (They that go down to the sea in ships) and Herbert Howells (Like as the hart, in a lovely, highly romantic rendition with triplets stretched to the limit and beyond). Lennox Berkeley's wonderful The Lord is my Shepherd, so simple and perfect in its expression of the text, deserves wide recognition, and former Gloucester Cathedral organist John Sanders' sensational setting of The Reproaches alone gives reason to own this disc. The well-balanced, luminous sound gives all the immediacy and presence the music requires.
    --David Vernier, ClassicsToday.com
    View full page
  • Hymns Through The Centuries / Cathedral Choral Society
    Sold Out

    Hymns Through The Centuries / Cathedral Choral Society

    Gothic Jan 2009
    1 disc
    CD
    $18.99
    SONY CLASSICS

    Voice of Freedom - Paul Robeson's Complete Columbia, RCA, HMV, and Victor Recordings

    CD · 14 discs

    $71.99
    Composer
    Various
    Artist
    ROBESON, PAUL
    Released
    Aug 30, 2024
    Limited 14CD box set. The ultimate tribute to Paul Robeson, singer, stage and film actor, all-American football player, lawyer, and advocate for civil rights. Blacklisted and erased from American history, many of Robeson's recordings in the U.S. remained unreleased - until now. Special 14-CD edition, documenting his complete major-label discography, recorded 1925-1947. First release of Robeson's groundbreaking Victor recordings on CD, 16 recordings reissued for the first time, 5 previously unreleased. First restoration of Robeson's famous 1944 Othello stage production with Uta Hagen and Jose Ferrer from the original 33 master disc sides. His complete remastered Columbia albums (Songs of Free Men, Popular Favorites, Spirituals). First release of his historic 1958 recitals at Mother A.M.E. Zion Church, New York, and Royal Albert Hall, with 30 previously unissued recordings. Richly illustrated 160-page book with essays by Shana L. Redmond and Susan Robeson, a wealth of photos and facsimiles from the archives of The Paul Robeson Trust, the Academy of the Arts, Berlin, and Columbia Records, plus complete discographical notes.
    View full page
    Chandos

    A Lifetime on Chandos / Neeme Järvi

    CD · 25 discs

    $131.99
    Composer
    VARIOUS
    Artist
    Jarvi, Philha
    Released
    Sep 14, 2018

    Almost forty years after his first recording on Chandos, this unique limited-edition release gathers some of the best and most-awarded recordings on the label by one of the most prolific conductors of all time: Neeme Järvi. It highlights a 200+ discography that explores an astonishingly wide repertoire, with selections from the legendary complete series of Prokofiev’s symphonies and Tchaikovsky’s ballets to the groundbreaking discoveries of composers such as Atterberg or Suchon. It features nearly a dozen of the numerous orchestras with which he has collaborated, including the RSNO, Chicago Symphony, Orchestre de la Suisse Romande, and Royal Concertgebouw Orchestra, all here celebrated at their best. Offered at a very special price and retaining the original covers, this product also includes very special notes by James Jolly, Editor in Chief of Gramophone, as well as exclusive photos and interviews with figures central to Järvi’s extraordinary musical life.

    Past praise of previously released material included in this set:

    Prokofiev: Symphony No 6, Waltzes Suite / Järvi, SNO

    As in all of his Prokofiev symphony recordings–this was the first, by the way–Järvi really digs into the music. The engineering is as big and bold as the performances. This recording deserves classic status.

    – ClassicsToday

    Smetana: Má Vlast / Järvi, Detroit Symphony

    Järvi and the Detroit Symphony Orchestra deliver an expansive reading of the complete work, and their feeling for the music's vivid imagery and richly Romantic expression is spot on.

    – All Music Guide

    View full page
  • A Lifetime on Chandos / Neeme Järvi
    Sold Out

    A Lifetime on Chandos / Neeme Järvi

    Chandos Sep 2018
    25 discs
    CD
    $131.99